Andrew Reid
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Posts posted by Andrew Reid
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Some thoughts on what the Leica Q3 specs mean for Panasonic's next big mirrorless cameras
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On 10/20/2023 at 10:41 AM, BTM_Pix said:
I had a play with one in Japan last week.
If they had one in stock then it may have been a challenge to not at least go and have a coffee and a serious think.
Particularly considering my off again/very much even more off again relationship with the S5ii during that trip.
Looks like Canon wants in on the game too
Perhaps they can bring back those nice vintage FD lenses as well 🙂
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The Mi10 and mi10 pro have same main sensor, but the Pro model a slightly better lens (hardly noticeable difference in reality). The main difference is the extra aux lenses on the Pro.
108 MP, f/1.7, (wide), 1/1.33", 0.8µm, PDAF, Laser AF, OIS
12 MP, f/2.0, 50mm (telephoto), 1/2.55", 1.4µm, Dual Pixel PDAF, 2x optical zoom
8 MP, f/2.0, (telephoto), 1.0µm, PDAF, OIS, 3.7x optical zoom, 5x hybrid zoom
20 MP, f/2.2, 13mm (ultrawide), 1/2.8", 1.0µmYou get three including a 3.7x optical zoom module which can shoot 3K RAW video.
The ultrawide is on both the mi10 and mi10 pro and is capable of 4K RAW video, it's quite a good one.
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If ZV-1 has same options as RX100 series you'll need to use Cine2 instead of Cine4 for PP1.
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Cheaper alternative to 12S Ultra is the Xiaomi Mi 10 which can be had for about 200-300 euros used.
This produces 6K RAW reliably at 24fps in Cinema DNG from a 1/1.33" sensor, same size as a top-end Galaxy and much larger than the older phones with their tiny 1/2.5" chips.
Oneplus 8 Pro is the MotionCam's developers favoured device. It's reliable, fast, great sensor, good selection of lenses and does 4K/60p in RAW.
McPro24fps is very handy for 10bit when you don't want the massive file sizes of RAW.
By the way MotionCam can transcode to ProRes on Android phones in-app, or you can do it in post with their free app too.
It's the Magic Lantern of phones basically.
- PannySVHS, fuzzynormal and sanveer
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All depends on the lenses really doesn't it... Canon Dream Lens, you wouldn't use that on 2x crop, would lose the whole point of it.
And there are c-mount lenses that make a lot of modern full frame lenses look flat and boring.
So every format has cinematic lenses, but the point is that with the larger formats you have more subject isolation, which could suit the shot or not, it all depends on the scene.
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If you want to go full on cinema with a phone, get Motion Cam for 4K and even 6K RAW recording on certain Android phones. The best options for that are quite cheap. Oneplus 8 Pro for example
If you want the convenience of H.265 get a Xiaomi Mi 11 Ultra and install Mcpro24, hike up the bitrate and shoot in 6K mode.
Avoid the stock camera apps on Android, compressed, oversharpened, and 8K that isn't anywhere near 8K.
iPhone shoots good video using Blackmagic's app. Stock app is vastly superior to the Android stock camera apps for video. ProRes for a start!
Avoid Filmic Pro. It's a rip off and Mcpro24 is a lot better.
Finally, look carefully at the older models before jumping in with latest and greatest (S23 Ultra for example, is a waste of money). The Xiaomi 12S Ultra has a 1" sensor and definitely outperforms Samsung in every way.
The iPhone 15 Pro Max is tempting for Apple LOG though.
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I was thinking the other day about how almost all lenses look best wide open.
So if it's a full frame F1.4 lens you see most clearly the rendering it has wide open rather than say, F5.6.
The advantage of a 2x crop sensor is that you get to shoot wide open and see more detail in backgrounds.
You take, say a 10mm F2.0 micro four thirds lens, it has the look of F2 but the deeper DOF as well so the setting isn't completely creamed out. If you have a really beautiful setting, you don't want it to be invisible and just bokeh in every shot.
So you could stop your full frame lens down to F4 or even F8 but then the whole character of the lens is lost and they all look uniformly pretty much the same beyond F4.
I think it begs a comparison... I might do one soon.
Take a Super 16mm 26mm F1.1 lens on a GH6, and compare it to a 50mm F1.2 on full frame, and also the same 50mm but stopped down to F2.2 to match the equivalent aperture of the S16mm lens at F1.1 wide open.
On the otherhand, the advantage of full frame might reveal itself more clearly when the focus distance is further out, and the subject remains a little bit separated from the environment, whereas on the 2x crop camera they'd be on the same focus plane, 'infinity' might start from about 3m outwards.
I understand the appeal of medium format, 65mm, large format cinema cameras, full frame, and so on...
Just think that 2x crop is not without merit and can even serve the story better in many cases.
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Last weekend was shocking. Absolute pure evil and terror. A brutal loss of life in Israel.
It is understandable they are out for revenge, but it should be Hamas and terrorist groups that get wiped off the face of the earth. Not women and kids.
A lot of binary views out there, with people taking sides, that's the nature of war I suppose.
This isn't my war.
And it isn't even many of theirs. There are so many civilians in that part of the world who want nothing to do with Hamas and just want to live peacefully in their home without the threat of Israeli bombs falling and occupation.
Surely we can all agree on this - that women and children should be spared.
The Israeli government doesn't seem to want to do that.
Many of the young Israeli victims at the music festival who were slaughtered in the prime of their lives also sympathised with the NORMAL people in Gaza who are NOT terrorists. Most people are not in nodding-dog mode USA-government style total adoration of the Israeli government and their politics.
I also think it is darkly ironic that so many on the extreme socialist left of Western politics and even many in the LGBTQ community seem to want to think of Hamas as heroic freedom fighters. Actually if these people ever came face to face in reality with Hamas they would be the FIRST in line to get beheaded.
I despise the actions of both Hamas and the Israeli government. Palestinian civilians as mere collateral, the occupation of their land, it is all so wrong.
Before wiping out terorism in Gaza there should have been a MASSIVE humanitarian effort to evacuate the civilian women & children population by sea.
By going ahead with a ground-invasion possibly as early as this weekend, is the Israeli government comfortable to be seen in the eyes of the world to be committing genocide? Does it want the death of nearly 2 million innocent people on their hands and to lose the support of the world's public?
Yes they are entitled to destroy Hamas and defend themselves so that what happened last weekend will not be repeated.
No, they cannot be allowed to take senseless revenge on Palestinians by bombing kids in their beds, it is the stuff of war crimes.
Hopefully people in a binary view, blindly supporting ONE SIDE against the other will be able to come to terms with the fact that no binary argument is ever valid in war.
As for the West, we seem to be standing by without any plan whatsoever to get the civilian population out of Gaza to safety. We are sending the navy, warships, no rescue boats, no proper safe corridor into another country, nothing.
Of course it would be a big logistical effort, with massive number of security checks, but even a few large ships could save thousands of lives, even if you just take children or those under the age of 18 and their mothers, sisters, brothers.
Leave the Hamas hardcore fanatics to fight, and get the kids out of there...
- ntblowz, kye, solovetski and 2 others
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The GH6 when I come back to it the next day takes 2 seconds to boot from cold. From then on, powers on instantly unless I again leave it turned off for a long period of time.
So I can see the logic in this - it enters a quick-start / sleep mode for faster power cycling during a shoot, but this also seems to sometimes not disengage or go into 'cold' deep sleep mode properly, thus drains the battery over several days.
They really need to sort it out. Email going off to Pana HQ soon from me and I'll show them a link to this thread, thumbs-up for all the experiences you've posted.
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Some more insights, this time from the GH6:
I was able to get it to boot up instantly, but when you pull the battery and start from 'cold', there is still a 1-3 sec delay in boot-up.
This makes me think that the camera has a 'warm' shut down mode which sips power to facilitate the instant boot-up.
The Sigma Fp-L is another camera which can be slow to wake up. 1-3 seconds. This doesn't drain the battery, and seemingly lacks the ability to turn on any faster.
There is a menu on the Panasonics: "Power Save Mode"
I have put Sleep Mode to Off and Sleep Mode (Wi-fi) to off.
Maybe when Wi-fi sleep is enabled, the Wi-fi chip stays active and connected to your network.
Could that be the prime candidate for draining the battery and even the slow-start ups?
You will notice whenever you enter the Wifi menu on a Lumix, it takes a couple of seconds wait time to enable the wifi chip.
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6 hours ago, petrovsky1 said:
Had my s5 2x for a week now. After a full charge, the battery is down 25 percent the next day.
That is a crazy amount of power to use in 24hrs, for a camera that's off!
What's it doing?
6 hours ago, petrovsky1 said:I'm also having the same problem with my pair of Samsung NX1's, which are pretty old. The explanation here is that the internal battery has died from old age, and the cameras are using the main batteries to keep time/date etc and other settings alive.
The way to test that is to see if it retains the date/time when you remove the main battery and re-insert.
The power to keep the SRAM or whatever it is that stores the time alive is absolutely tiny so it shouldn't be draining the main battery. It is the kind of power required that takes 10 years to drain a button cell.
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23 hours ago, MrSMW said:
I wish I'd bought yours now. And the 1/2 dozen others I have had in and out of various baskets...but almost 100% committed now.
I would get a Z8 now, it has all the same advantages but a smaller and lighter body!
23 hours ago, MrSMW said:Zf already on preorder and almost certainly going to be followed by a used Z9 and the Tamron 35-150mm.
Big (the later combo) yup and bigger than I'd ideally like but there just is no better combo for my specific needs, ie, does not exist other than this specific combo.
I am also interested in the 35-150mm but in the past have usually always come back to a bunch of smaller and lighter primes. The main concern about the zooms is they don't really have the character and beautiful rendering of the best primes.
23 hours ago, MrSMW said:It is slightly lighter and smaller than my current set up so well used to it and it's my only real compromise. But one with twice the megapixels for pure stills which I'd like and offers me the option to explore stills from 8K raw internally at 50p. Again, the ONLY option in existence at this time.
And the Zf I never knew existed or was coming until it was announced, answered the remaining questions.
Back to Nikon where it all started for me 23+ years ago.
The S1H stays for static duty because there is no need to change it and it makes n o sense to do so.
Season over for me now so starting the clear out...
That will give you another 23 years to consider camera choices then 🙂
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8 hours ago, BTM_Pix said:
Hard Off have one in red with the 14-140 but it’s about £180 which is a bit steep I think.
That's not bad, the 14-140mm is very handy, certainly smaller than the 28-280mm full frame equivalent 😉
The only other alternative is to go all out with the GFX 100 and put some cheap Sigma from 1976 on it!
If the GH7 turns up whilst you're over there, can you give that a go.
And my lens tip of the month is the Olympus OM 50mm F1.4 G.Zukio which has the rendering of the Canon Dream Lens. Really is the closest you can get without getting the real thing.
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1 hour ago, BTM_Pix said:
The man who served me in MapCamera knows me from all my previous visits of excess and was expecting me to ask for a Z9 so was a bit weirded out !
Did he give you the same look the Berlin camera store gives me when I go in to rummage through their 5 euro trash lenses bucket?
If you come across any red or gold GH1 in map camera I would encourage you to splash out!! They are fun, especially with an F0.95 Voigtlander
You can recreate my Tokyo film with it, just be sure to apply the hack to make it true 24p and English menus!
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I relinquished my EOS R3 due to the lenses situation. Couldn't justify the expense for RF stuff which had no discernible advantage over my EF lenses in terms of character or size / weight.
The problem is that the R3 didn't work particularly well with adapters either. The IBIS doesn't like it, and there are fewer choices of adapters compared to Sony E-mount. No Leica autofocus adapter, no C-mount. These two I use even more than my EF adapters these days. (You may wonder about C-mount Super 16mm on full frame as in why bother, but the Z9 has a 2.3x crop mode in 120fps and the Sony a1 has 4K 2x crop mode, and Sigma Fp-L 2.5x 4K or 2x 4.8K Cinema DNG RAW whereas none of these things exist on any Canon R camera).
The Z9 was the next stop but that too fails on the native lenses front. Too big, too expensive, too charmless.
Z-mount is however more flexible than RF and it has the lovely Megadap E-mount adapter for Sony E-mount native lenses.
So the lack of third party Sigma/Tamron lenses on RF is not the only problem, it is the lack of adapters and piss poor IBIS performance with my Leica M / Canon FD / Contax Zeiss collection too.
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52 minutes ago, Davide DB said:
This came out in April 2023 so after The Creator had finished shooting.
Also you can already do the desqueeze on the Atomos.
There is no 4:3 or 3:2 mode on the FX3, and using a 2x anamorphic on DCI 17:9 or 16:9 doesn't give you the correct aspect ratio for IMAX.
So did they crop the sides off, I wonder.
The other thing which doesn't stack up is that the FX3 shoots 23.976p, and not true 24p until that April firmware update. Another thing which makes it unsuited to IMAX or cinema.
So maybe they had 'special' units from Sony which did all this and more, way before any firmware update.
I bet Timecode was a struggle as well.
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Something just doesn't stack up about the anamorphic
The FX3 has no anamorphic aspect ratios compatible with the use of 2x cinema anamorphic lenses.
It is only DCI and 16:9.
From https://www.newsshooter.com/2021/02/24/sony-fx3-announced/
"No anamorphic"
Just like the FX9, FX6, and a7S III, the FX3 isn’t capable of recording in any anamorphic modes. That is reserved for the VENICE.
"Below is what the camera is capable of outputting over HDMI:"
Raw 16-Bit
4.2K (4264 x 2408) up to 59.94p4:2:2 10-Bit
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p
Full HD (1920 x 1080) at 23.976p/50p/59.94p
Full HD (1920 x 1080) at 50i/59.94i4:2:0 8-Bit
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p
Full HD (1920 x 1080) at 23.976p/50p/59.94p
Full HD (1920 x 1080) at 50i/59.94iDid something change and I missed it? Firmware update? Maybe Sony gave them one early?
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1 hour ago, Davide DB said:
There are scenes without CGI, of course but the cinematography is nothing much. IMHO the real beauty are the CGI scenes and the worlds imagined by the designers.
I'm interested to see it too, will probably go this week in Berlin.
The camera did have the advantage of clean ISO 12,800 which allowed them to use more natural light on location and keep everything looking quite real, without huge lighting rigs needing to follow them around like a ball on chain.
How did the lenses hold up? Everything from shampoo commercials to music videos seem to be shot on anamorphic these days, and seemingly by people who don't know what they're doing, because a smudgy anamorphic often doesn't suit the advertising content they're making, it should look much cleaner. I'm beginning to feel the look is being devalued by overuse (and wrong use) so hopefully in The Creator they're going for the Blade Runner look and not just using them for fashion purposes!
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2 hours ago, kye said:
I'm curious to hear how it holds up on an IMAX screen too - keep us informed.
The link that @ntblowz shared has lots of info:
- "the filmmakers use the Atomos Ninja V+ as an onboard ProRes Raw recorder"
16bit RAW -> ProRes RAW then? That is probably one of the main reasons it holds up so well with decent colour science as the RAW will pretty much bypass Sony's colour science in-camera.
2 hours ago, kye said:- "75mm Kowa 2x anamorphic lens with a prototype of the Atlas Mercury 42mm as a backup for the small spaces where the 75mm was too tight"
Do you know if the FX3 supported open gate or 4:3 anamorphic mode (AFAIK they added anamorphic mode, desqueeze only later)
https://www.dpreview.com/news/2260102234/sony-adds-dci-4k-24-and-anamorphic-support-to-fx3-and-fx30
2 hours ago, kye said:TBH, the choice of the FX3 could have been as simple (and uninformed) as simply being that they are aware of ARRI, RED, and Sony (through the Venice) and looked at their cine lineups to find the smallest cinema camera, but never evaluated Panasonic or Fuji because they were simply unaware of them.
Yeah maybe, although Canon has plenty of traction in rental, broadcast and in videography they're not up there with Sony, ARRI and RED at the top end of filmmaking. C700 was a big failure.
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Ah yes the democratic filmmaking movement of an $80m budget! The FX3 on this film is interesting but no revolution.
His main innovation (Edwards) is in CGI, he was doing it for a long time in TV at the BBC and knows how to get decent results with less people, less money. I will be interested to see how the FX3 image holds up on an IMAX screen as well. I can't seem to find anywhere confirmation of whether they shot 16bit raw to the Atomos or the internal codec? As the form factor of the FX3 as they rigged it up with wireless FF, big battery, external recorder, cine lens, matte box is a moot point. Smallest body they could find, but for no real utility.
In terms of the image, a number of alternatives to the FX3 exist too.
The S1H has better colour science and better resolution. The Sony a1 has better resolution and is better for run & gun bare bones indie filmmaking due to the built in EVF and the 8K 520Mb/s internal codec. The GFX 100 II would have got closer to the aesthetics of 65mm for IMAX and the Nikon Z9 would have looked great with internal RAW and again more resolution to play with than the 12 megapixel 4K on the FX3.
Was the movie shot anamorphic? How did they cope with the FX3's lack of anamorphic / open gate mode prior to the April 2023 firmware update?
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I am kinda trying to do the opposite. Want it to display as LOG, not HDR with tone mapping.
It does look washed out in terms of colour space, but not in terms of gamma.
Remember the Panasonic S1 and it had Hybrid LOG Gamma but no V-LOG?
You could simply grade the Hybrid LOG Gamma as if it were C-LOG or something.
Now you can't because all the NLEs pick up the metadata and handle it as HDR at 1000 nits!
Must be a way to handle it as LOG instead?
Apple event shot using Blackmagic Cam for iOS
In: Cameras
Posted
And it is sooo much better than Filmic Pro.
https://www.eoshd.com/news/apple-event-was-shot-with-blackmagic-camera-app/